Which part of the body are necessary to product a sound? Those who can move without having an influence on the quality of the sound? Can we move body fragments or the entire body it its globality? Can we play motionless? How the body can organise itself around a instrument that is fixed in space?

Surely, certain movemente alterate the sound, but if listed, could they serve to create a new music? How, by getting out of the traditional game rules, a different physicality can create new sounds and way of playing one’s instrument? Play on the ground, with one hand, percussively, jumping, by holding the instrument differently…

The movement itself also has its own music, a visual music. Nourished by the work of the Movement Theater that has developped the concept “musicality of movement” by playing on the duration, the speed, the force, the articulations… Elsa Marquet-Lienhart has created analogies between the musical and physical terms to gain in precision. The instrumentalist (and singer) can “musicalise” its movements and play at the same time.  What are the possibilities of articulation, organisation and dialogue between the movement (visual) and the instrumental or vocal music (sound)? Imitation, opposition, counterpoint, causality, canon… Through the space-inhabitation, formalisation of the bodies and research of new playing modes, we can assist to the apparition of metaphorical images and dramaturgic allowing a different approach of the musical creation.

At the time of pluridisciplinarity and transversality, would the process into movement of the instrument player create a new mode to present music, a new form of concert?